In Fast X, Vin Diesel’s Dominic Toretto uses a car door as a shield, as one does.
Ever since I first looked at the release schedule for 2023, I have been dreading Fast X. The tenth Fast & Furious film seems completely pointless. I love a good car chase as well as the next guy, but Dom (Vin Diesel) and his “family” long ago exceeded both the bonds of Newtonian physics and cinematic decency. In the last one, F9, they literally drove cars into space. When a long-running film series that does not take place in space suddenly decides to go into space, it means they’re out of ideas. That’s called the “Moonraker Rule.”
Given Fast X’s running time of 141 minutes, it looked like a bad weekend was brewing for me. Then, a stroke of luck. On Saturday night, my wife LJ and I went to the monthly Time Warp Drive-In for Singalong Sinema: Mad Musicals in May, a triple feature of Little Shop of Horrors, The Blues Brothers, and The Wiz. It was a perfect night to camp out at the Malco Summer Drive-In’s Screen 4 with several hundred of our closest friends. Next door, Screen 3 was also filling up with a crowd who favored muscle cars and giant trucks.
At dusk, the films started. A miscommunication led to the Time Warp films being played out of order, so The Wiz rolled first. From our lawn chairs next to our parked car, we could see both screens 4 and 3. That’s when I got the idea. It’s highly unethical to review a film without watching it. But the truth is, nobody who is going to go see Fast X cares what a critic like me has to say about it. You’re either down with $350 million and 141 minutes worth of explosions and big guys in muscle cars going vroom, or you’re not. But technically, I was watching Fast X, even if the sound I was hearing was the Tony Award-winning score of The Wiz. If the other Fast & Furious films were anything to go by, it’s not as if hearing the dialogue would shed any light on the plot that was allegedly happening between car chases. I have seen at least five of them, and I have never understood what is going on. Is Dom a street racer? A bank robber? Some kind of super spy? All of the above?
The first big improvement I noticed in Fast X is that Aquaman himbo Jason Momoa is the big bad, a drug lord named Dante who is dead set on revenge for Dom’s crimes against (what else?) his family. This information comes from an extended opening flashback taken from Fast Five, where Dom and the crew steal a bank vault and drag it through the streets of Rio. Aquaman’s exquisitely-styled locks mean that, unlike earlier installments with Dwayne “The Rock” Johnson and Jason Statham, the story does not boil down to bald guys punching each other. Momoa’s performance is so excessive it lands like a silent film actor’s pantomime — especially when accompanied by the dulcet tones of Diana Ross as urban Dorothy Gale.
At roughly the time in The Wiz when Michael Jackson is introduced as the Scarecrow, Charlize Theron is reintroduced in Fast X as Cipher. I hope she got paid a lot of money. Same for Rita Moreno and Helen Mirren, both of whom have scenes with Dom which I think are supposed to be motherly, but come off as romantic. You go, ladies!
As Diana Ross and Michael Jackson explode into the radio hit “Ease on Down the Road,” Fast X travels to Rome, where Dante is planting a bomb that looks like a giant metal ball. Naturally, automotive hijinks ensue, with Dom and fam chasing the big ball through the streets of the Eternal City. By the time Nipsey Russell is introduced as the Tin Man, the giant ball is on fire; it eventually explodes in the Tiber River in a way that is somehow both good and bad for Dom.
In conclusion, The Wiz, a box office bomb widely credited as ending the ’70s golden age of blaxploitation cinema, is flawed, but much more fun than its reputation suggests. The disco-era bass work in Quincy Jones’ soundtrack is especially choice. Fast X is elevated by the presence of Aquaman and a flagrant disregard for human constraints like “good taste.” It’s the best film in the Fast & Furious series to kind of watch out of the corner of your eye while doing something else.
Fast X Now playing Multiple locations (But unfortunately not alongside The Wiz again)
Vin Diesel and Daniela Melchior do car-related things in FAST X. (Courtesy Universal Pictures)
Did you know The Fast & The Furious, the 2001 film that started it all, was named for a 1954 B-picture by Roger Corman? The legendary schlockmeister traded the title for access to Universal Studio’s stock footage library. Now, it’s a billion dollar franchise that made Vin Diesel a household name and street racing cool.
This weekend, the tenth and perhaps last (or second-to-last, or even third-to-last, depending on who you believe) film in the series, Fast X, premieres. What’s it about? Who cares? Big muscle guys make cars go vroom.
In other car-related Memphis movie news, this month’s Time Warp Drive-In is on Saturday (May 20), and the theme is “Sing-A-Long Sinema: Mad Musicals in May.” The opener is based on a Roger Corman film (there’s that name again) from 1960 that became a classic musical in 1986. Little Shop of Horrors is directed by Frank Oz (yeah, the Muppet guy) and stars Rick Moranis as Seymour, a florist with a taste for the exotic who finds a plant from outer space. It’s a hit for the flower shop, owned by Mr. Mushnick (Vincent Gardenia), but Seymour’s got a secret. The plant, named Audrey II, is sentient, has an amazing singing voice (provided by Levi Stubbs of The Four Tops), and thirsts for human blood. When Audrey II offers to help Seymour land his love interest Audrey I (Ellen Greene in an all-time great supporting role) by disappearing her dentist boyfriend (Steve Martin, in an all-time great dual cameo with Bill Murray), things get interesting. The doo-wop revival songs, the impeccable puppetry, and a cast of legends at the top of their game, make Little Shop of Horrors an absolute must-see for people who like to have fun.
The second musical of the evening probably needs no introduction. So I won’t give it one. Instead, let’s just watch John Belushi and Dan Aykroyd cook with an all-star band, including Memphis muscle men Duck Dunn, Steve Cropper, and Matt “Guitar” Murphy, while reflecting on the fact that Belushi broke his foot the night before he filmed this scene.
Rounding out this absolute unit of a triple bill is The Wiz. The 1978 Sidney Lumet film is an all-Black musical adaptation of The Wonderful Wizard of Oz starring Diana Ross and Michael Jackson, with a score by Quincy Jones. When Indie Memphis revived it at the drive-in in 2020, it was a blast and a half. Watch Micheal Jackson slay, even though he’s stuck on a pole as The Scarecrow.
The Time Warp Drive-In is Saturday, May 20 at the Malco Summer Drive-In. Show starts as dusk.
If you commit a crime in Memphis, odds are you’re going to get away with it.
The “clearance rate” is a standard measure of police effectiveness used by the FBI. It measures the ratio of crimes reported to arrests made. Crimes cleared by “exceptional means,” such as when the perpetrator is known to police but died before they could be arrested, are also included.
In 2021, the most recent year for which numbers are available from the Tennessee Bureau of Investigation’s Crime Statistics Unit, the Memphis Police Department’s clearance rate for all reported crimes was 22 percent — less than half the national average of 54 percent. For murder, the MPD’s clearance rate was 38 percent. For forcible rape, it was 17.8 percent. For theft from motor vehicles, the rate was 3 percent.
“I think it’s important to point out that, compared to the national average, and compared to cities of comparable size, it is abysmal,” says Shelby County District Attorney Steve Mulroy.
Mulroy emphasized that he was not “throwing shade” on MPD, which he called under-resourced. Nor did he blame Police Chief C.J. Davis. “It takes more than a year and a half to change the culture of an organization that size.” Nonetheless, the below average clearance rates were, in his view, a big problem.
Josh Spickler (Photo: Courtesy Josh Spickler)
“They don’t clear cases,” says Josh Spickler, Executive Director of Just City, a nonprofit devoted to reforming Memphis’ criminal justice system. “That’s the one thing we have to talk about — they don’t solve crime.”
As of press time, the Memphis Police Department did not respond to emailed questions about the department’s clearance rates.
Most police officers, Spickler says, “do the best job they can, even though it’s an impossible job we’ve asked them to do … This is not a critique of the individuals. They’re not put in a position to solve crime. It’s just a disaster. No one is getting justice: Victims are not getting justice, you and I are not getting justice, the taxpayers who are paying for all this are not getting justice. I think something must be done. Something real, something big, something bold and courageous.”
Indeed, the three major national news stories from Memphis in the last year (which did not involve the Memphis Grizzlies) all contained elements of police failure.
The first was the kidnapping and murder of Eliza Fletcher on September 2, 2022, which caused a national media frenzy. The alleged perpetrator, Cleotha Abston-Henderson, was accused of rape in September 2021 by Alicia Franklin, who provided police with his name, phone number, and dating app profile. She submitted to a rape kit examination, but could not conclusively identify Abston-Henderson from an old photo police showed her, and no arrest was made. The case remained one of the 273 uncleared rape reports from 2021 until the rape kit was finally processed in the wake of the Fletcher murder, and Abston-Henderson was charged for both crimes. Franklin sued the city for failing to properly investigate the rape, but the lawsuit was recently dismissed. “They had more than enough evidence that night when they interviewed me to get him off the streets, but they didn’t,” Franklin told ABC News.
The second crime was the mass shooting perpetrated by Ezekiel Kelly on September 7, 2022. Kelly killed his first victim, Dewayne Tunstall, at 12:33 a.m. The murder was immediately reported, and first responders arrived promptly. But Kelly remained at large for another 15 hours before killing his second victim, Richard Clark, at 4:35 p.m. It wasn’t until after 6 p.m., when a 911 caller tipped police to the fact that Kelly was live-streaming his mobile murder spree on Facebook, that police knew Kelly had become a mass shooter. He was finally captured at 9:15 p.m.
Then came the police murder of Tyre Nichols.
Tyre’s Legacy
On January 7, 2023, Tyre Nichols was driving to have dinner at his parents’ house in Hickory Hill when he was stopped by two unmarked police cars. As Demetrius Haley and Emmet Martin III, plainclothes officers from the MPD’s SCORPION unit, were pulling Nichols from his vehicle, a third unmarked police car, driven by Preston Hemphill, arrived at the scene. As seen on Hemphill’s body cam video, Nichols offered no resistance, and tried to de-escalate the confrontation with officers, who yelled conflicting orders at him while they pinned him to the ground. One officer attempted to pepper spray Nichols, but instead sprayed the other officers, obscuring their vision. Seeing his chance to escape the assault, Nichols ran. When police caught up to him they took turns kicking and beating him as he cried out for his mother.
Amber Sherman (Photo: Brandon Dill)
Before Nichols died in the hospital on January 10, 2023, photographs of his bruised and broken body were already circulating in Memphis. “When I saw those pictures of him, I was like, this is Emmett Till-level. This is someone beaten so viciously as to be completely unrecognizable. When you look at the picture of how he looked before that incident and afterwards in the hospital, it’s two totally different people,” says Amber Sherman, community organizer and activist behind The Law According to Amber podcast.
On January 27, 2023, the day the body cam and SkyCop videos of Nichols’ murder were released to the public, Sherman led the protests that shut down the I-55 bridge. They demanded the SCORPION unit be immediately disbanded. As excerpts from the videos played on national television, Sherman spoke to Mayor Jim Strickland on the phone. “I know you have the sole authority as the mayor to shut this down,” she told him. “So if you don’t want to use that power, cool. We’ll stay on the bridge.”
The police presence at the protest was minimal. “Of course they weren’t gonna show up, because people are watching y’all literally beat somebody to death on TV right now,” Sherman says. “Within 12 hours of us doing that protest, they shut down the [SCORPION] unit.”
Violent rioting had been predicted by some media and law enforcement. “I expected folks to hit the streets and make those calls for justice,” says Sherman. “What we expected to happen, happened. I think there were folks being upset that there wasn’t a riot or something like that. I always remind people that most protests that happen are pretty peaceful. That’s how they go. They don’t get violent until the cops come.”
Steve Mulroy (Photo: Steve Mulroy | Facebook)
DA Mulroy says he was not expecting violence, either. Two days before the videos were released, he announced charges of second degree murder, aggravated kidnapping, official oppression, aggravated assault, and official misconduct against officers Tadarrius Bean, Demetrius Haley, Emmitt Martin III, Desmond Mills Jr., and Justin Smith, all of whom had beaten Nichols at the second crime scene. It was three weeks since the initial traffic stop, a remarkably short period in these matters. “That was always in my mind: Let’s get the video out as soon as possible. But then we started to realize the video is gonna be really incendiary and could provoke a violent response. So ideally, if we could announce charges before release of the video, that would go a long way towards calming everybody down,” he says.
“I think the primary reason we didn’t see unrest in Memphis — and really, because of that, around the world — was because the wheels of formal justice and accountability had already begun to spin with those indictments,” says Spickler.
Besides, Mulroy trusted the activists. “We have a proud tradition in Memphis, going back decades, of public protests on these issues that were non-violent. In 2016, they took over the bridge, no real violence. In 2020, the summer of George Floyd, there were all kinds of marches and sit-ins and protests. Memphis activists always kept the peace.”
Mulroy was elected in 2022 on a platform that promised reform of the criminal justice system. He says he prioritized transparency in the case not just out of a sense of fairness, but also practicality. “I had campaigned all along on the [premise that] the public lacked confidence in the fairness of our justice system, particularly in the Black community. We needed reform not only for reform’s sake — which is sufficient reason in and of itself — but also as a means to the end of restoring public confidence, so that the community would start cooperating with law enforcement again in a way that they haven’t in recent years. That would be the key thing to bend the curve on violent crime.”
The Nichols killing was a prime example of why the community doesn’t trust the police, Mulroy says. “You had a specialized unit that was supposed to be, and was billed as, focusing on violent crime, that instead tried to get some easy collars and went to regular traffic stops to try to rack up some points. But they still took that violent crime warrior mentality with them, and it led to over-aggressive policing. I think probably the evidence will indicate that young Black males were targeted. As we’ve seen over and over again when we have these specialized units, they tend to be over aggressive. They tend to target young Black males. You had a culture develop — or maybe it had already been in in place, but was put on overdrive. You had a lack of supervision, inadequate training. That perfect storm led to that [incident]. I think we can surmise from the video that this wasn’t an isolated incident. It wasn’t just five bad apples. There is a cultural problem here that needs to be addressed.”
Mulroy declined to press charges against Preston Hemphill, the officer who had been at the initial traffic stop but couldn’t keep up with the fleeing Nichols and so never made it to the second scene where Nichols was fatally beaten. Hemphill is white, and the five officers who were charged were all Black. Mulroy says he concluded that the video evidence against Hemphill was too ambiguous to obtain a conviction. “It’s possible to act in a way that brings dishonor to the uniform and rightfully results in termination from the police department and rightfully results in revocation of the person’s eligibility to ever serve in the law enforcement capacity — it’s possible to do all those things without actually violating the criminal statutes of Tennessee.”
Nichols’ family’s attorney Ben Crump supported the decision not to charge Hemphill, given that he is cooperating with the investigation. But Mulroy’s reasoning rings hollow to Sherman. “The fact that those [charged] were all Black officers, I think they wanted to remind them that, at the end of the day, you’re Black first and we’re gonna treat you just like we treat other Black folks in the street when we overcharge them or when we target and prosecute them. We’re gonna treat you the same exact way. They don’t get any special class or special privilege they thought that they would have as police officers.”
The Community Rises
The officers on the scene said they pulled Tyre Nichols over for reckless driving. On January 27th, as the videos of the stop and beating were being released, Police Chief C.J. Davis admitted there was no proof that Nichols had broken any laws. It was a pretextual traffic stop, says Chelsea Glass of Decarcerate Memphis. “A pretextual traffic stop is like a non-moving violation; for example, a brake light is out, your windshield is cracked, your bumper is missing. Another common one now is if you have drive-out tags. Even if your drive-out tags are totally legal, you’re at risk of being stopped because they’re trying to find out if the car is stolen or not. That’s what they say because the whole thing about a pretextual traffic stop is, it’s a pretext to look for other violations.”
Decarcerate Memphis’s 2022 report “Driving While BIPOC” analyzed data from 10 years of traffic stops. “We found that Black and brown communities were disproportionately overrepresented in the data. So while Memphis is a predominantly Black city, we still found that they were overrepresented out of proportion with their population.
“This is something that we’ve been working on for years,” she continues. “We’ve talked to hundreds of people across Memphis. To be quite honest with you, the campaign itself took very little education. People know what the police are doing and why they’re doing it. I think the people who are less affected by these issues are the ones that are a little bit more easily confused by what’s really at stake and what’s really happening.”
LJ Abraham (Photo: Courtesy LJ Abraham)
After the initial burst of public protests, activists like Sherman, Glass, and West Tennessee Regional Organizing Director for the Equity Alliance LJ Abraham concentrated their efforts on the City Council. “I actually think the momentum is a lot higher right now, because we’ve been able to pass some of the ordinances through City Council,” Abraham says. “That’s just a general basis of beginning actual police reform in Memphis, like ending pretextual stops, ending the use of unmarked police cars, doing data transparency, and just making sure that there is accountability on the side of police. … I think the situation around Tyre Nichols has kind of catapulted the fight for actual reform a little bit higher based on the manner in which he was killed.”
The fight has been emotional and bruising for everyone. Sherman was banned from City Council meetings (illegally, she says). “ I don’t care if they like me,” she says. “I care about being effective in getting policies put in place to keep people safer.
“I think we’ve changed public opinion on pretextual traffic stops,” Sherman continues. “I think public opinion around unmarked cars was always that they were not okay. A lot of folks are really appreciative of that, because they don’t agree with using unmarked cars for traffic enforcement.”
The pretextual traffic stop ordinance which passed the council is narrower than what Decarcerate Memphis wanted, says Glass. “It’s still considered a win, but it’s not entirely what we asked for. Ultimately, we’re pleased with the items that did pass.”
Can We Fix It?
The word that comes up over and over again when discussing police reform is “culture.” Many police, the argument goes, see the public as an enemy, and act like an army occupying a hostile land. “When I was younger, we got along with the cops,” says Abraham, who is 42. “I used to hang out with the cops, sit out on my porch and laugh and joke with them. But growing up and seeing the direction that policing has actually gone is probably one of the most disgusting things I’ve ever seen in my life. It can’t be this way. I think the police officers we hire, they’re really terrified; just scared for themselves, and not scared for anything else. But how can you take that job where you’re supposed to exhibit some level of bravery?”
The so-called “elite” units, like the SCORPION unit Chief Davis founded with a promise to “take the gloves off,” are a product of the “warrior cop” mindset. “I do believe there are people that we need to take care of us, to guard us, to protect us,” says Spickler. “That’s the mission of a police officer. It is not [to be] out there to wage war, not to battle, fight, and all these words we use when we talk about crime. But that’s what it’s become.
“We were told we’re gonna do whatever it takes to make sure there’s no repeats,” he continues. “But then, we had this battle at City Council where the community was very organized and very clear on what it wanted in these ordinances about traffic stops. The mayor’s administration comes in and says, ‘We can’t do that. Here’s the reason why.’ That’s as clear evidence as you need that they’re not serious. They’re not ready to do the things that need to be done.”
Crime and policing has become the central issue in this year’s mayoral election. Defenders of the status quo maintain that insufficient incarceration is what is driving the city’s crime rate. Cleotha Abston-Henderson served 20 years of a 24-year sentence for kidnapping. Ezekiel Kelly was convicted of aggravated assault when he was 16, and tried as an adult. He was released from prison early during the pandemic. On May 12th, Mayor Jim Strickland, who is not up for re-election because of term limits, led his weekly email newsletter with the image of a Monopoly “get out of jail free” card. “Someone is giving these out,” the newsletter read. “It’s not the Memphis City Government. It is not the Memphis Police Department or the Shelby County Sheriff’s Department. It appears that it is multiple people within the criminal court system at 201 Poplar and the Juvenile Court. And what’s worse — the bad guys know it, and they are encouraged to keep committing crimes.”
DA Mulroy says, “The narrative you hear from critics of reform is, one, the cops are doing a great job bringing everybody in, but two, the liberal DA and judges are letting them right back out. Three, they immediately re-offend, and four, that’s why we’re having a high crime rate. Every one of those assertions, one through four, is false. The clearance rates indicate that they’re not bringing them in. The DA doesn’t set bail. The supposedly liberal judges are not letting them out the way the public thinks. Although I may have disagreed with some of the individual, controversial bail decisions, nonetheless, the narrative that it is just a revolving door is false. They are not re-offending when they do get out. Less than one in four re-offend at all while they’re on bail — and less than 4 percent re-offend violently. And then finally, that’s not what’s driving crime. Because if you added up all the cases in which people who were let out on bail re-offended while they were out on bail, it would be less than one eighth of the total crimes in any given year. Even if we decided to violate the constitution and deny everyone bail, we would still have an unacceptably high crime rate. So we are focused on the wrong thing.”
Simply hiring more police to enact the same policies won’t work, says Spickler. “It’s the old hammer and nail metaphor. When you’re a hammer, everything looks like a nail. Sometimes you need a hammer. Sometimes that’s the right tool for the job — but not all the time.”
“The tough-on-crime approach is not working,” says Glass. “If it did work, we would see the fruits of that labor. We need a leader that is interested in investing in the communities and healing the city. People are really suffering in Memphis, suffering from trauma, suffering from poverty. There are real issues that need to be addressed, and by addressing some of those issues, like education or the housing crisis or low-wage jobs, naturally the outcome is that crime will be addressed. As long as we are able and capable of meeting people’s needs, the other stuff takes care of itself. Nobody believes that there are communities of people that are inherently bad or inherently violent. There are communities that are oppressed, and that oppression, it’s like an illness, the trauma, the sickness. Let’s start treating poverty like a public health crisis instead of treating communities like they’re just irredeemable and only worthy of punishment and punitive measures.”
*The online version of this story has been modified slightly to clarify several quotations.
For Bailey Bigger, there’s no place like home. The Arkansan singer-songwriter has released a new single that’s all about her affection for the country life. “Arkansas Is Nice” is a smooth sip of Laurel Canyon country-folk straight outta the Ozarks. She’d like to visit California, but for now, home is where the heart is.
The video is produced by Studio One Four Three and directed by Joshua Cannon. “The most important thing to me when making this music video was that I wanted to use real faces from Arkansas,” says Bigger. “I wanted to include actual friends and family from my life growing up in Marion. After we gathered the crew, the rest almost fell into place. Josh and Mica and I chose to create an on-screen version of a time capsule of my current life here in Arkansas, and it couldn’t be more beautiful.”
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
Silver foxes Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen head out on a bachelorette party trip to Europe in Book Club: The Next Chapter, a sequel to the 2018 sleeper hit comedy. Craig T. Nelson rand Don Johnson also reprise their roles as frigid husband and seasoned himbo with whom our heroines must negotiate new relationships.
Before Steve Jobs introduced the iPhone to the world in 2008, there was the Blackberry. Known to its army of corporate users as the “crackberry,” it demonstrated both the advantages and disadvantages of 24/7 connectivity long before the first Instagram post. Blackberry by indie filmmaker Matt Johnson tells the story of Research In Motion, the company who ruled the mobile world in the Bush era. Wary of another disingenuous hagiography of a tech oligarch? Don’t worry, this one’s a comedy!
Charlie Day, star of the TV comedy staple “It’s Always Sunny In Philadelphia,” makes his film-directing debut by biting the hand that feeds him. For Fool’s Paradise he enlisted Ken Jeong, John Malkovich, Kate Beckinsale, Adrien Brody, Jason Sudeikis, Edie Falco, Jason Bateman, Common, and a whole bunch more, to satirize showbiz as it is practiced today. You can be excused if you get a strong Being There vibe from this one.
Guardians of the Galaxy Vol. 3 represents the end of an era for Marvel and Disney. The main cast is retiring, and director James Gunn is moving to helm the rival DC movies. The Memphis Flyer‘s Sam Cicci says “Guardians Vol. 3 is the most creative Marvel film in years, a fitting end to Gunn’s time with Disney.” So far it’s pulled in $365 million worldwide, and shows no signs of stopping.
Judy Blume’s revolutionary young adult novel Are You There Go? It’s Me Margaret gets a worthy adaptation from director Kelly Fremon Craig and Simpsons producer James L. Brooks. Abby Ryder Fortson stars as Margaret, the confused middle-schooler who must navigate a move to the suburbs, puberty, and religious doubt all at once. Rachel McAdams and Memphian Kathy Bates give excellent support as Margaret’s mother and grandmother. Read my review, then watch the trailer.
Sam Raimi’s pioneering horror-comedy franchise continues its perfect record with new director Lee Cronin in Evil Dead Rise. This one’s definitely more scary than funny, but Cronin nails the franchise’s irreverent tone, and Alyssa Sullivan kills as a single mom possessed by demons who stalks a haunted apartment building. A must-see for horror fans, this one’s got legs.
South Korean director Hong Sang-soo and his frequent collaborator Kwan Hae-hyo are back together with Walk Up. Indie Memphis screens this affecting slice-of-life film, which premiered to laurels at the Toronto Film Festival, at 7:00 p.m. on Wednesday, May 17 at Studio on the Square.
The Super Mario Bros. Movie
What’s the beeping noise in the distance? It’s the sound of The Super Mario Bros. Movie collecting coins. You just saw Guardians, but you can’t get enough Chris Pratt? Good news! You can hear him phoning it in as Mario in this animated adaptation that has earned enough to build Princess Peach a very nice castle.
The Friday night audience dances to Earth, Wind & Fire. (Photo by Laura Jean Hocking)
The question on everyone’s lips this Monday after the 2023 Beale Street Music Festival is “Well, how was it?” The answer, from my perspective, is “It was okay.”
After the pandemic disruption was extended into a construction delay which moved the festival to the fairgrounds in Midtown, BSMF returned to a Tom Lee Park that is very different than it was in 2019. I’ve attended the Beale Street Music Festival for the better part of 30 years, and this year was unlike any other I’ve experienced.
Tom Lee Park has been transformed from a flat flood plane to a modestly hilly area spotted with with copses of trees, split by winding concrete paths. The official opening of the park isn’t until Labor Day weekend, and things were still very much under construction. Several areas with freshly planted trees were roped off from public access, and people seemed to respect the restrictions for the most part. The paths were a welcome addition to many people I spoke with, but several pointed out that being on your feet for several hours on concrete is much harder on the joints and bones than walking on turf — or more accurately to the historical Memphis in May experience, mud.
Threatening clouds over Tom Lee Park never delivered heavy rains. (Photo by Chris McCoy)
The forecast called for rain all weekend, but nothing beyond the lightest of drizzle ever came down from the threatening clouds. The newly installed turf and landscaping seemed to hold up very well under the onslaught of tens of thousands of boots and flip flops. (Seriously, don’t wear flip flops to a music festival.) But the ultimate test, in the form of a rainy weekend, never came.
But could the new Tom Lee Park handle a real crowd? On Friday before I headed down to Tom Lee for the first time, I said we’d find out the answer to that question about 8:45 p.m. on Saturday, when GloRilla took the stage. I was right on that account. Official attendance figures are not available as of this writing, but Memphis Travel’s Kevin Kane was pre-spinning low numbers to Channel 3 on Friday. But the Saturday night audience for GloRilla stretched the central Bud Light stage to its limits.
About a third of the crowd gathered for GloRilla on Saturday night of Beale Street Music Festival, as seen from the bluff. (Photo by Laura Jean Hocking).
It was GloRilla’s homecoming show after blowing up in popularity over the last year, and she got a hero’s welcome. Raw charisma is more important to a rapper than any other performing artist. There are a lot of people who can spit fire bars in a recording studio, but who wilt under the glare of the stage lights. GloRilla is a fighter. She will not be ignored in favor of your phone. Backed by a 30-foot inflatable gorilla which seemed to embody her fierceness, she surround herself with six of the best dancers in Memphis — and this is a city with a very, very deep bench of dancers. Dripping in jewels and a shiny gold outfit, GloRilla grabbed the crowd out of the gate and roared through bangers like “Internet Trolls.” When she paused to monologue about the difficulty of being a woman shut out of the hip hop boys club, and ended with “we kicked the door in!”, everyone in Tom Lee Park believed her.
GloRilla on stage. (Photo by Laura Jean Hocking)
From ground level, and later the bluff, the new park appeared to handle GloRilla’s horde of fans without much trouble. The biggest innovation in crowd movement turned out to be the walkway that now runs the length of the river bank, which served as a kind of freeway for people going from one stage to the next on the long, park. The weekend provided three great sunsets, and on Saturday, people were lined up along the path to take selfies with the river in the background.
Selfies with the sun on the new river walk in Tom Lee Park. (Photo by Chris McCoy)
The biggest challenge to the Beale Street Music Festival’s attendance may be simple timing. This year, the festival fell on the second weekend of New Orleans Jazz Fest, which, judging from its A-list lineup, is much better capitalized than Memphis In May. To make things worse, this was the weekend Taylor Swift made a three-night stand in Nashville. Since the Swiftie fandom is the closest thing we have to a monoculture in 2023, the vast majority of Memphis’ younger, musically inclined folks made the trip to the Music City this weekend rather than checking out The Lumineers in the new Tom Lee Park.
Earth, Wind & Fire. (Photo by Laura Jean Hocking)
They missed some good sets on Friday night, beginning with Memphis gospel duo The Sensational Barnes Brothers, then moving directly to The Bar-Kays. (One of my favorite things about being a long-term Memphis music fanatic is watching yet another audience lose their collective minds when The Bar-Kays remind them about “Freakshow On The Dance Floor.”) Earth, Wind & Fire paid tribute to Memphian Maurice White during their high-voltage vintage funk set. Then the crowd at the Zyn Stage swelled for 311, the ’90s cult band that has found the key to long-lasting success is just making sure you throw a great party every night.
311. (Photo by Chris McCoy)
Aside from GloRilla’s rapturous reception, BSMF ’23 never reached those heights again. The most puzzling addition to the bill was a band called Colony House who replaced White Reaper on the Volkswagen stage on Saturday. MIM had more than a week to find a new act after the lead singer of White Reaper broke his collarbone, but instead of picking up the phone and calling any one of the dozen of hungry Memphis rock acts who could kill on 30 minutes notice, they chose to spend the money on a mushy mess of warmed-over worship band music from the ritzy Middle Tennessee enclave of Franklin.
Living Colour. (photo by Laura Jean Hocking)
It didn’t help that Colony House followed Living Colour, the legendary ’90s prog-punk pioneers who haven’t lost their edge. Guitar god Vernon Reid and throat-ripping vocalist Corey Glover provide the band’s formidable one-two punch. Early songs like “Open Letter to a Landlord,” which takes on gentrification, and their smash “Cult of Personality,” which pretty much explains the Trump era of American politics in four minutes, are, if anything, even more relevant today than when they were written. The Beale Street Music Festival may have evolved, but some things never seem to change.
Allison Krauss and Robert Plant. (photo by Chris McCoy) AJRJazmine SullivanGary Clark, Jr.Lucinda WilliamsBeale Street Music Festival attendees rest on a new hillside in renovated Tom Lee Park.
Local news is what we do here at the Memphis Flyer. Our local news is mostly about fun stuff, with some very unfun stuff thrown in here and there so we can continue to call ourselves “news.”
That’s a joke, of course. News can be good, bad, indifferent, or ambiguous, because it’s just stuff that happens in life. But some folks have to dress it up and spin it in an attempt to attract more clicks or better ratings. Hey, I get it. It’s hard out there for a content pimp. But constantly harping on the bad stuff, while good for attracting those sweet, sweet anxiety clicks, can make for very unpleasant viewing.
Memphis musician and friend of Music Video Monday Jeff Hulett takes on the needy fearmongering with “Local News” from his 2022 album Note To Self. With an assist from Jake Vest, Hulett takes us on a nightmare tour of local happenings, with giant cave dogs and the walking dead. Looks like a slow news day to me.
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
Happy Guardians of the Galaxy weekend to all who celebrate! Marvel’s answer to Star Wars works best when the crew, led by Chris Pratt as Star Lord, simply ignores whatever is brewing in the rest of the MCU. This is director James Gunn’s swan song at Marvel, as he was just given the big chair of the rival DC universe, and Dave Bautista’s done with Dax after this one, as well. Karen Gillian, who has long been the best actor in the MCU, finally gets a spotlight worthy of her talents. This is gonna be a hot ticket, so reserve your seats now.
Running into the Guardians buzz saw is the British rom-com What’s Love Got To Do With It? Shazad Latif directs Lily James and Emma Thompson in this acclaimed film, which takes on arranged marriage and the limits of cultural assimilation.
The other attempt at counter-programming against the Guardians juggernaut this weekend is Love Again. You’ve seen this premise before with Sleepless in Seattle, and classic cinephiles will recognize the outlines of the Ernst Lubitsch/Jimmy Stewart masterpiece The Shop Around The Corner. Only this time instead of accidental lonely hearts pen pals or email advice columnists, it’s text messages. We get a reboot of The Shop Around The Corner every time a new communication method become popular.
Director Kelly Reichardt’s latest is a comedy based in the always weird world of art. Showing Up stars Michelle Williams (a frequent Reichardt collaborator) as a mixed media artist preparing for a big show while her world falls apart around her.
On Wednesday night, Indie Memphis is throwing a pay-what-you-can MicroCinema night at Crosstown Theater called “Shifting Lines: New Queer Animation.” The six-film program will include Niki Ang’s terminally charming short “Were You Gay In High School?”
Well, the book banners are at it again. Since the good ol’ U.S. of A. was founded by a diverse (from a theological perspective, anyway) group who had just witnessed a couple hundred years of bloody religious civil war in England, freedoms of belief and expression were enshrined as fundamental rights in the new country. So those who would impose their religion on others start by whipping up moral panics about “pornography! In the schools!”
Long before the words “Ron DeSantis” first passed fascist lips, they came for Judy Blume. Her 1970 middle-school coming-of-age novel Are You There God? It’s Me, Margaret. has everything: frank talk about sex, a skeptical view of religion, and worst of all, a female protagonist learning about her period. The horror! Children should know nothing about sex except that God hates you for it.
The bannings in the 1970s made it a widely read Gen X classic. Blume resisted offers from Hollywood until The Simpsons executive producer James L. Brooks and director Kelly Fremon Craig finally convinced her it was time to film the unfilmable.
Rachel McAdams as Barbara Simon and Abby Ryder Fortson as Margaret Simon in Are You There God? It’s Me, Margaret.
We first meet Margaret Simon (Abby Ryder Fortson) having the time of her life at summer camp. When she returns home to her mother Barbara (Rachel McAdams) and father Herb (Benny Safdie), she’s quick to notice something is afoot. Grandma Sylvia (Kathy Bates) blurts out the news: Dad got a promotion and the family is moving from Brooklyn to the suburbs of New Jersey.
While the family is still unpacking, neighbor Nancy (Elle Graham) introduces herself. Margaret is attracted to her new friend’s self-confidence, and she gets a boost when Nancy asks her to join her girl gang. But navigating her new school’s social scene becomes Margaret’s minefield.
Meanwhile, a long-simmering situation in Margaret’s family life is coming to a boil. Barbara’s Christian fundamentalist parents disowned her when she married Herb, who is Jewish. Margaret must choose which religious tradition she wants to join, if any. Margaret prays her own way in private, and her missives to God give the film narrative structure. When Margaret finds out why she’s never met her grandparents, it fills her with horror — the more she sees of religion, the less she wants to do with it.
Craig nails the feel of the wood-paneled 1970s. Her technique is conservative, compared to TheDiary of a Teenage Girl and Eighth Grade. It’s the acting that sends this adaptation into greatness. Fortson’s performance is wise beyond its years, and Graham’s a natural. Craig’s screenplay increases the role of Barbara, and McAdams makes a meal of it.
Margaret’s choices — to be a mean girl or not; to be Jewish, Christian, or none of the above; to be fake and popular or risk being real; being forced to choose between competing branches of her family — are so universal that they transcend the 20th-century setting. What has scared the pearl-clutching book banners for 50 years is that Margaret makes her own choices for her own reasons and lives more or less happily ever after. That kind of freedom is not something the reactionary mind welcomes.
Are You There God? It’s Me, Margaret. Now playing Multiple locations
Ahh, spring! It’s a time of renewal. It’s the season of flowers. It’s that brief window of time when Memphis weather is nice.
Alexis Grace‘s new music video “Golden” is suffused with seasonal energy. Edward Valibus conjures deep video magic to bring multiple Alexises together — each dressed for a different season — to breeze through her (their?) incredibly catchy new tune.
You can catch the singer/songwriter live at the Hyatt Centric on Sunday, May 7th, and at the GPAC Grove on June 29th. While you’re waiting for those shows, you can watch this video and imagine you’re dancing with Alexis in her amazing kitchen.
If you would like to see your new music video on Music Video Monday, email cmccoy@memphisflyer.com.